[QUOTE=Ty Ford;5551679]
Quote:
Originally Posted by FrankHudson
Pro Tools may have advantages as an in-deep audio editor, I don't know as I only edit minimally in Logic Pro.
I've mixed two CD projects on Logic and while I like some of the features, I didn't like that gain reduction devices don't show how much gain reduction you're using and we also ran into distortion during the mix downs that was probably due to internal bus overloading that was not apparent on any meters I saw. We "felt" our way through the problem and fixed it by globally reducing the level on all tracks, and limiting our plugin choices to all apple only. PITA, but we got it done properly.
Regards,
Ty Ford
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I've heard of similar issues with mixing in various DAWs, not just Logic X.
Can you clarify any about your report that "gain reduction devices don't show how much gain reduction you're using?" Sounds like key info, but I don't really understand that.
As it so happens I mix in Adobe Audition 90% of the time (just because I'm familiar with it) and I tend to master from a final mix as a separate step, sometimes in the stand-alone Izotope Ozone application. Even in Ozone and mastering, I fight what I feel it's pre-sets' tendency to "make sausages" (overly compressed and constantly-hitting-the-limiter audio that looks like a stuffed sausage in waveform view).
I often lament that my stuff is all self-engineered while I try to be the producer, the recording engineer, and at least one of the musicians at the same time (there are powerful reasons why these roles are usually separated in traditional professional recording practice). To the degree I can (and I can't watch the meters steadily if someone, or even myself, is changing volume during the recording) I try to keep levels low while recording (at 24 bit), moderate while mixing and only work to bring levels up during mastering.
Would such a practice (low levels when recording, moderate when mixing, and only "hot" when mastering) have prevented your issues in Logic X?